Lee Ufan

(1936 ) - Artworks Wikipedia® - Lee Ufan
UFAN Lee From Line 3, Paris/tokyo

Auctionata /Jun 14, 2014
1,000.00
500.00

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Variants on Artist's name :

Lee U-Fan

 

Artworks in Arcadja
305

Some works of Lee Ufan

Extracted between 305 works in the catalog of Arcadja
Lee Ufan - From Point

Lee Ufan - From Point

Original 1979
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Lot number: 1052
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Description:
Lee Ufan B.1936 FROM POINT signed in English and dated 79; signed and titled in English on the reverse, framed mineral pigment and glue on canvas 97.4 by 130.5 cm.; 38⅜ by 51⅜ in. Read Condition Report Read Condition Report Register or Log-in to view condition report Saleroom Notice Provenance Acquired directly from the artist Private Asian Collection Acquired by the present owner from the above Private Japanese Collection On Time and Beyond Lee Ufan At the end of the Second World War, Abstract Expressionism was being developed in New York, crowning the city as the artistic centre of the West. At the heart of this critical movement was Jackson Pollock, who, by taking his canvas off the easel and onto the floor, removed the conventional boundaries that had limited artists for generations, thus expanding the possibilities for innovation and creation. This ground-breaking act redefined artistic creation and highlighted the importance of the process of art production. In contrast, in Asia, Lee Ufan also revolutionised the Contemporary art world, by instead emphasising the journey of creating a work of art. Placing his canvases on the floor, his whole body was engaged in the process, allowing him to enter into a far more intimate relationship with both the process and materials involved. Using traditionally Eastern materials to paint on a distinctly Western surface, Lee further expanded the opportunities for creation, shattering the traditional limitations that confined classically trained Asian artists. An inspirational figure in the Contemporary art world to this day, Lee became the fourth guest artist selected for the Contemporary Art Programme of the Palace of Versailles and has works collected by the Museum of Modern Art New York, as well as the Musée National d'Art Moderne in Paris. It is from this influential artist’’s oeuvre that Sotheby’’s is pleased to offer two important works of art. Originating from his two seminal painting series, From Line and From Point, the current works on offer are essential representatives of Lee’’s oeuvre. They reflect the artist’’s recurrent themes—the painting process and the inherent, unadulterated beauty of materials; the passage of time; and infinity. Lee’’s choice to use coarse canvases and transparent animal glue as binders for the mineral pigment in the works on offer shows his desire to enhance the natural characteristics of the materials. This desire hints at his leadership of Mono-ha (literally meaning, "School of Things") in the 1960s, a Japanese movement that propagated the idea of the fundamental beauty of materials and their careful arrangement, which was to merely enhance this beauty without altering its original allure. Thus, his painting style is subtle and humble, with simple lines or dabs of paint brushed across a white canvas. However, though at first glance similar, each stroke is actually unique, varying in the pressure applied and the amount of glue added. Committed to what he calls yohaku or “The Art of Emptiness”, Lee rarely touches the surface more than three times and applies the paint in a disciplined manner, allowing the paint to form a thick ridge where his brush first makes contact with the canvas before letting it fade gradually into lighter tones. From the the loose gusts of paint across the canvas of From Point (Lot 1052) , to the vertical uniform lines that fade in From Line (Lot 1053) , the works on offer in the present sale represent the artist's unrestricted Abstract motion. In Lee’’s oeuvre, the slow fading of paint highlights the importance of negative and positive space. His philosophy extends to equality between the painted and the unpainted, which share a non-hierarchical relationship in which the blank areas are just as important in contributing to the overall aesthetic of the painting as the painted areas. Similar to Lucio Fontana in their shared emphasis on this relationship, Lee differs in that he identifies the blank canvas as the negative space, whereas Fontana saw the canvas as the positive and his deep slashes the negative. Like many Korean artists of his generation, Lee emphasised the importance of the singular brushstroke and the transience of time. By repeating such strokes on the canvas, he explores the passage of time as multiple instances of fleeting moments, sometimes similar but never the same, unique in the memory it represents and preserves. Thus, the current work on offer, From Line, can be considered as a record of time, a diary of Lee’’s search for new methods to highlight the beauty of his materials and exploration with the process of painting. Another theme that is often present in Lee’’s work is infinity. As he states in his essay On Infinity, “the outside world enters deeply into my work… Infinity begins with the self but is only manifested fully when connected with something beyond the self”. From Point contains such a reference to infinity. Like his From Line series, the paint in the work on offer is applied to a gradual fade, signifying the artist’’s search for infinity, with the self represented as the dark blue pigment, slowly disappearing into the infinite void of the canvas background. The rows of small squares are reminiscent of Donald Judd’’s “stacks”, which are set against a stark white backdrop. However, while Judd’’s pieces are similar to Lee’’s in their minimalism, they differ in that Judd’’s work is concerned with technology and the future, whereas Lee’’s work is concerned with eastern philosophical notions of eternity and time. In addition, Lee’’s painting conveys a sense of movement that is lacking in Judd’’s. This is due to the fact that Lee reapplies paint onto his brush as the paint runs out, making three or four rows of brushmarks rather than one single row. The multiple lines suggest endless movement in one direction, perhaps signifying the infinite passage of time, which, like the lines, moves only in one direction. Unlike his thematic treatment of time, however, Lee often looks to both the future and his past for inspiration, with his Asian heritage and training playing a pivotal role in his art production. Born in southern Korea in 1936, Lee moved to Japan in 1956 and graduated from Nihon University with a degree in philosophy in 1961. He spent his first working years as an art critic, philosopher and artist, which exposed him to the wider Western world, giving him access to international audiences. These Japanese experiences prompted him to reject his traditional Nihonga style of painting and embrace the Abstract movement that was sweeping through the world. By using a traditionally Eastern paint on a distinctly Western material, Lee triggered a breakthrough that would serve as inspiration to many of his contemporaries. The melding of East and West perhaps signifies his desire to highlight the natural relationship between materials and practices that existed side by side but were to people totally different. This international combination of practices and materials was to define not only his work, but his generation of Korean abstract artists. In 2010, the Lee Ufan Museum, a museum completely dedicated to his work and designed by Tadao Ando, opened on the island of Naoshima, Japan. Coupled with a decoration by the Japanese government for having "contributed to the development of contemporary art in Japan” in 2009, it highlights Lee’’s pivotal role in the world of Contemporary art. With an illustrious career spanning over four decades, Lee’’s work opened new doors on the international art scene for Korean artists of his own, as well as future generations. He demonstrated the classic maxim that the journey is just as important as the destination through his eloquent lines and brushstrokes. His work simple yet complex, Lee continues to astound as the Korean at the forefront of Japanese contemporary art, an outsider on the inside, searching for a connection between the self and the world that surrounds it. Fig. 1 DONALD JUDD, Untitled , 1980 © Judd Foundation. Licensed by VAGA, New York, NY Fig. 2 LUCIO FONTANA, Spatial Concept: Expectations , 1967 © 2014 Artists Rights Society (ARS), New York / SIAE, Rome
Lee Ufan - With Winds

Lee Ufan - With Winds

Original 1987
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Lot number: 48
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Lee Ufan (b. 1936) With Winds signed and dated 'L. Ufan 87' (lower right); signed again and titled 'with winds Lee Ufan' (on the reverse) pigment suspended in glue on canvas 35 7/8 x 46 in. (91.1 x 116.8 cm.) Painted in 1987. Private collection, Daegu, acquired from the artist Private collection, Suwon Private collection, Paju Acquired from the above by the present owner Lee Ufan is a Korean visionary of Post-Minimalist art, and prides himself on being able to see the world as it is. This notion was also the mentality of the Mono-ha artist group, of which he was a leading member. As a child, Ufan mastered the two primitive units of East Asian calligraphy and painting, and this foundation has remained crucial to his artistic principles both conceptually and compositionally. His artistic series from 1980, With Winds and From Winds, from which this piece derives, focus on accentuating the empty space of a canvas. Though Ufan’’’’s brushstrokes may appear random, he is ultimately capturing structural components of seemingly invisible forces. The artist keeps “expression to a minimum in order to achieve the maximum,” (L. Ufan, Lee Ufan, Tokyo, 1993, p. 3), and his paintings are ultimately composed with what he calls “a sense of indefiniteness” (Ibid). As the pigment from his brush delves into the depths of a canvas, the artist gradually establishes an organizational rhythm throughout. This particular work, titled With Winds, not only captures the essence of the particular series, but also distinguishes the artist’’’’s influence as a writer on both contemporary art and more importantly, structural aesthetics. He increasingly limited his choice of medium and materials to glorify the simplicity of what is truly before us.
Lee Ufan - Untitled

Lee Ufan - Untitled

Original 1985
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Lot number: 137
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Lot Description Untitled Lee U-Fan (b. 1936) signed 'L U Fan' in English; dated '85' (lower right) ink on paper, mounted on screen paper: 61 1/2 x 54 in. (156.2 x 137 cm.) with frame: 63 1/8 x 55 3/4 in. (160.3 x 141.6 cm.) Painted in 1985. Special Notice This online-only sale is sponsored by Christie's New York, Rockefeller Plaza saleroom. Lot Condition Report I confirm that I have read this Important Notice and agree to its terms. View Condition Report Provenance Ueda Gallery, Tokyo, Japan Private Collection, USA Literature Ueda Gallery, Lee U-Fan, exh. Cat., Tokyo, Japan, 1986 (illustrated, plate No. 8, unpaged). Exhibited Tokyo, Japan, Ueda Gallery, Lee U-Fan, 10-25 January 1986. View Lot Notes >
Lee Ufan - From Line 3, Paris/tokyo

Lee Ufan - From Line 3, Paris/tokyo

Original 1977
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Lot number: 126
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This drypoint etching was created by the Korean, minimalist painter and sculptor Lee U-Ufan (b. 1936) who also known as Yi U- hwan. The work dated to the year 1977 and is part of the series ‘Form Line’’’’. Depicted are vertical black lines on white underground. The print originates from a limited edition of 50 pieces, plus 10 artist proofs and it is numbered with 40. In addition it is also signed by the artist on the lower right in pencil ‘L. U-fan’’’’. It was printed by Hayashi Graphic and published by Koh Gallery and the Gallery Decor in Tokyo. There are slight handling creases and verso glue staining due to a former mount with minimal abrasion of the surface, besides that the print is in very good condition. The plate is 27.5 x 33.8 cm in size and the dimensions of the sheet are 45.5 x 56 cm. Lee U-Fan (b. 1936) Lee U-Fan was honored by the Japanese government for his contribution to the development of contemporary art in Japan. U-Fan is one of the key figures of the Mono-ha tendency in Japan of the late sixties and early seventies. He studied philosophy at the Nihon-University in Japan. As a painter he contributed to Tansaekhwa that is monochrome painting, which was the first internationally declared art movement of Japan in the 20th century. The artist lives in Kamakura (Japan) and in Paris. In 1971, he was representing Korea at the Biennale in Paris for the first time. In 1977, he took part at the documenta in Kassel. In 1997, he was a visiting professor at the École des Beaux-Arts in Paris. The Lee-U-Fan-Museum opened in Naoshima in Japan in 2010. Works of his are in the possession of international collections, for example of the National Gallery Berlin, the Staatlichen Kunstsammlungen Dresden, the Museum of Modern Art New York, the Centre Pompidou in Paris, as well as the important museums of Japan and Korea. Drypoint on laid paper Paris/Tokyo, 1977 Lee U-Fan also Yi U- hwan (b. 1936) – Korean minimalist painter and sculptor Signed lower right in pencil ‘L. U-fan’’’’ Numbered lower left in pencil ‘40/50’’’’ Edition of 50 plus 10 artist’’’’s proofs Print: Hayashi Graphic Publisher: Koh Gallery, Gallery Decor, Tokyo Catalog raisonné: The Printworks of Lee Ufan 1970-1986, Shirota Gallery, Tokyo, p. 75 Dimensions: 27.5 x 33.8 cm (plate); 45.5 x 56 cm (sheet) Good condition Provenance: Private collection Hong-Kong The poetic and minimalist drypoint etchings from the series ‘From Point and Line’’’’ by U-Fan fetch up to 10,000 euros at international auctions Detailed description This drypoint etching was created by the Korean, minimalist painter and sculptor Lee U-Ufan (b. 1936) who also known as Yi U- hwan. The work dated ... > Read more
Lee Ufan - Dialogue

Lee Ufan - Dialogue

Original 2007
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Lot number: 23
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LEE UFAN (NÉ EN 1936) Dialogue signé et daté 'L. Ufan '07' (sur la tranche); signé, titré et daté 'Dialogue 2007 Lee Ufan' (au dos) huile et pigment minéral sur toile 162 x 130 cm. (63¾ x 51 1/8 in.) Peint en 2007. Galerie Pace Wildenstein, New York Acquis auprès de celle-ci par le propriétaire actuel en 2008 Provenant d'une importante collection privée New York, Pace Wildenstein Gallery, Lee Ufan, septembre-octobre 2008. 'DIALOGUE'; SIGNED AND DATED ON THE EDGE, SIGNED, TITLED AND DATED ON THE REVERSE; OIL AND MINERAL PIGMENT ON CANVAS.
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